Perfect partnerships: 2022’s innovative activations
Sponsorship is a key revenue stream for festivals, whilst music and arts events are excellent ways for companies and charities to expose their messages to receptive audiences. In an excerpt from IQ and Yourope’s European Festival Report, we profile some of the most innovative partnerships in 2022.
Commercial partnerships are key for most festivals, with many companies eager to benefit from the association with a festival brand and access to its audience. However, it’s important to create an activation that not only aligns with the company’s goals but matches the audience’s expectations without damaging the event’s reputation.
But how do you ensure your partnership brand is met with approval by festivalgoers? How do you know the partner you’re working with won’t be viewed negatively by them? And even if they are receptive to your brand/message, how do you calculate the success of the activation when the measurements of success are not as sophisticated as they could be.
Well, thanks to a new big data collaboration with Aalborg University’s techno-anthropologists (yes, they do exist), Roskilde festival in Denmark might have solved these issues.
Together they have created a new online open-source platform called Culturography, which enables organisations to understand and visualise how their target group – and the broader public – engages in different aspects of societal issues online.
Roskilde’s online tool analyses social media posts from fans and the public that show where interests of different groups of people overlap
The online tool analyses social media posts from fans and the public that show where interests of different groups of people overlap. This use of big data enables festivals to understand whether a brand and its activities are a good fit.
“Every time we engage in a commercial partnership, there are three basic steps that we go through. There’s finding the partnership, signing the partnership, and then monetising it. This method was very helpful for all three,” says Roskilde’s head of partnerships, Andreas Groth Clausen.
“Normally, when I present the idea of a partnership with Roskilde Festival to a company, it’s just me, and I’m hoping that the person I’m talking to is a fan of a particular festival or can see the idea. With this digital database, we can actually tell them what our audience is interested in. We can show them our fans are really engaged with some of their competitors, but they’re not interacting with them. So, the starting point changed significantly when we introduced these visualisations to our partners.”
The tool also helps the festival and the brand design an activation onsite that hits the appropriate demographics, by identifying the key touchpoints certain groups are interested in. This minimises the risk of running an activation that doesn’t chime with festival-goers.
As a non-profit organisation, Roskilde festival is making the software available to everyone. But there’s still some development required – currently the data is interpreted by experts from the university, whilst the goal is to develop the software further so that it removes this requirement.
“Trasholution” incentivises people to pick up litter by gamifying the process
“That’s the last challenge for us – to build a tool that’s just plug-and-play for everybody. As good as it is right now, it’s still a work in progress, but we can make it even better. We are going to do that in the years to come,” says Groth Clausen.
FKP Scorpio: Trasholution
FKP Scorpio festivals Hurricane, Southside, Highfield, and M’era Luna launched a new concept for waste management in summer ‘22. “Trasholution” incentivises people to pick up litter by gamifying the process – and it was used to benefit social causes, too. Every full rubbish bag was counted by the festival and triggered a donation of €1 to social projects in the region of each festival. This was live-tracked and visible for all festivalgoers, further motivating them to hand in their rubbish. As soon as a donation goal was achieved, the German company launched the counter for the next one.
“This is so important because if the festival waste is separated cleanly, its recyclable materials can be sorted out much better and returned to the material cycle,” says FKP Scorpio managing director Stephan Thanscheidt. “So, we’re achieving two good things with one concept: donations for social causes, as well as more sustainability.”
Flow and Polestar
As one of the world’s first carbon-neutral festivals, Finland’s Flow fest is renowned for its environmentally friendly credentials. So, it was especially important for them to work with brands that shared its ethos.
Polestar’s commitment to bring 100% electric premium car products to the world, led them to partner with the Superstruct Entertainment-owned event to bring their brand statements to Flow’s highly eco-conscious fan community.
With a campaign aimed at building brand awareness and affinity in Finland, Polestar gave selected ticket holders exclusive drives to the festival as well as pairing with Tiilikello venue for an exclusive art installation, matching both the festival and brand’s minimalist image.
At Latitude and Wilderness, professional Bacardí mixologists offered cocktail-making classes for attendees
Live Nation and Bacardí
With 2022 being the first full year back after the pandemic, Bacardí partnered with Live Nation in the UK to join the celebrations for the return of festivals, signing a multi-year deal to be the official spirit partner across ten events.
A drinks brand could be considered an expected sponsor for a festival, which was exactly what inspired Bacardí to create spectacular spaces full of thoughtful surprises and touches.
The partners created physical spaces that became destinations in their own right at festivals. Each was tailored to the festival audience’s tastes and preferences, such as Casa Bacardí (at Reading, Parklife, and Wireless), a two-story dance destination programmed with world-renowned DJs and premium rum cocktails; or Haçienda Patrón (at Wilderness and Latitude), a Tulum-inspired space.
Bacardí also used its spaces creatively by inviting fans to experience its brands in new ways. At Latitude and Wilderness, professional Bacardí mixologists offered cocktail-making classes for attendees. Bacardí also programmed established and up-and-coming DJs at Casa Bacardí to support its Music Liberates Music initiative, an ongoing programme designed to champion underrepresented voices in the music industry.
The results reached 3m in-person attendees and 10m followers on social media.
Jay Williamson, VP of marketing partnerships for Live Nation UK, said: “The Bacardí team truly understands how live music is one of the rare things that can bring people together, and the opportunity to work with them this summer on creating lifelong memories for fans was an incredible privilege.”
Wacken Open Air partnered with brewery Krombacher to put together a band made up of rare native species under threat
Wacken Open Air and Krombacher: Growling Creatures
Have you ever heard an endangered animal sing metal? Well, now’s your chance. This year, German festival Wacken Open Air partnered with brewery Krombacher to put together a band made up of rare native species that are under threat: Growling Creatures.
To raise awareness of the plight of these animals, three songs featuring the calls of a variety of animals were released by the ‘group.’ Nest Destroyer included the sounds of the cuckoo and grey shrike over a melodic death metal tune. The brown hare and lynx contributed to metalcore banger Furry Inferno. And the female bison and grey seal joined together for death metal song Small Number Of The Beast.
The songs were released on Spotify and videos were posted on YouTube and social channels, as well as running on stage screens between bands. Band T-shirts were also sold.
All proceeds from the campaign will be donated to the Nature and Biodiversity Conservation Union (NABU) of Germany.
“The audience response as well as the media was very positive,” says festival spokesman Peter Klapproth. “All three songs were professional produced and went down well in the metal scene. The campaign created a reach of over 8m, which made the whole cooperation very successful for all parties involved and most importantly created the awareness for the endangered species.”
The partnership was such a success that plans are already in place to continue it next year.
Emerging artist Madalena Pequito ran a workshop of festivalgoers that positioned art as a pillar for sustainability
MEO Kalorama and Underdogs
While audiences filled their ears with music from the likes of The Chemical Brothers, Arctic Monkeys, and Disclosure, new Portuguese festival MEO Kalorama also filled their eyes with art, thanks to a partnership with Lisbon-based cultural platform Underdogs.
Promoter Last Tour invited the art organisation to undertake three different initiatives that involved several people from the Underdogs’ diverse roster of Portuguese and international artists.
The first part of this collaboration was a large-scale intervention by Portuguese visual artist AkaCorleone called Temple of Sound, which saw the entire main stage decorated with work, as part of his ongoing Temple of Light project.
Elsewhere, an art gallery was built dedicated to displaying over 30 exclusive Underdogs artworks by a diversity of artists, including Felipe Pantone, Okuda San Miguel, Tamara Alves, Vhils, Wasted Rita, and many others.
And sustainability was a key theme for the third intervention – emerging artist Madalena Pequito ran a workshop of festivalgoers that positioned art as a pillar for sustainability. She invited the audience to illustrate the 17 sustainable development goals established by the United Nations.
Jazz in the Park bought six GoPro cameras, which festivalgoers borrowed for 45 minutes at a time to record their experience
Jazz in the Park and Mega Image
Most people who work on festivals never get to experience it as audiences do. But for its 10th anniversary in 2022, Romanian festival Jazz in the Park set about changing that. Thanks to a partnership with supermarket Mega Image, the festival bought six GoPro cameras and set-up a station that saw people borrow a camera for 45 minutes at a time and record their experience. The 180 people shot 96 hours of footage, which was edited into a “People’s Aftermovie,” which was released on social media.
“We were a bit nervous about people’s response[s] to being invited to film,” admits festival founder and manager Alin Vaida. “But the cameras were used almost all the time. People love the opportunity to just fool around and film their family, their preferred concerts, and so on. After the first day, people started asking about where they could get the cameras, and there was a good level of interest in the activation.”
The resulting film is unlike any traditional marketing movie, showing the event in a truly authentic manner, as even some of the ‘less desirable’ elements of the event, (such as the poor weather on the first two days) were included.
Communications manager Sergiu Topan says when the first draft arrived from the editor, he ran into Vaida’s office and shouted “It’s great!”
Vaida adds: “We are a relatively small office, and it’s usually quite noisy. But when the team got the video, there was just seven minutes of total silence. People were trying to be poker-faced about it, but I could see some of them wiping away tears. It was amazing. Watching the film was the first proof in 10 or 11 months or more that we had done something brilliant.”
He says sponsor Mega Image’s response was “really good.” So much so that there are now plans to increase the budget next year so they can buy more GoPros and have more people involved. “The word-of-mouth regarding the brand activation was excellent, too,” he adds.
EXIT’s fortress walls were painted with words of emotional and psychological support
EXIT and mental health
With global events such as the pandemic, the economic crisis, and the war in Ukraine continuing to impact people’s lives, organisers of EXIT Festival in Serbia had a special focus on mental health at the 2022 edition.
The walls of the festival site’s fortress were painted with words of emotional and psychological support, while the messages were also presented on the screens of the big stages.
Many people have encountered anxiety, fear, depression, loneliness, and other related difficulties in the past two years. This is why the festival further strengthened its relationship with Novi Sad-based suicide prevention and mental health support organisation Srce Centre. The festival has worked with the centre for years, and this year the partnership was extended to bring more mental support locations to the fortress, namely at the Foodland, the OPENS State of EXIT zone, and in the EXIT camp.
And it’s not only the audience that could get help. EXIT says it is the only organisation in the music industry with two mental health experts on the team throughout the year. Over the course of the festival, other psychologists and psychotherapists were onsite to support the backstage teams and performers whenever needed.
The Power Hour sees attendees gather at Defqon.1’s main stage for 60 minutes of DJs mixing high-energy tunes
Defqon.1 and Red Bull
One of the key moments during Dutch hardstyle festival Defqon.1 is the Power Hour – which sees attendees gather at the main stage for 60 minutes of DJs mixing high-energy tunes with lightning transitions – it’s an intense moment that sees the audience go crazy.
Festival organiser Q-dance (a brand of Superstruct Entertainment-owned ID&T) partnered with Red Bull to make this year’s Power Hour truly something to remember. Opening with Red Bull athlete Bicho Carrera, it featured an aerial display that included multiple Red Bull assets such as an aerobatic flight and the helicopter from The Flying Bulls.
During the left-to-right moment, which sees the whole crowd dancing from side to side, the Red Bull helicopter joined in, hovering from left to right, too. Additional activation included special Power Hour-branded Red Bull four-packs, which were sold onsite and in the campsites and included an illuminated LED cup.
This moment was captured in video and generated significant reach and viewership over digital platforms on both Red Bull and Defqon.1 channels.
“We had almost 4m (organic) total online reach and counting,” says Q-dance brand partnerships manager Jack van Mourik. “When answering the question ‘How would you rate the Red Bull show moments during Power Hour?’ the average score was an 8.59 out of 10 in our Defqon.1 survey and was experienced as ‘very positive.’”
At Ab geht die Lutzi Festival and Rocken am Brocken, a small PENNY.Festivals Kiosk was set-up
Many festivals and PENNY
For many years, German supermarket brand PENNY has supported the German festival scene – most prominently with its sponsorship of Parookaville. But for the return after Covid, it wanted to expand its help. So multifaceted festivals platform Höme used a survey of 37,000 festivalgoers to find out how the 2,150-store company could offer the best support. What they discovered led them to develop a broad range of activations across multiple festivals under a new sub-brand, PENNY.Festivals.
Alongside its activations with Parookaville, which include two big stores, the DJ-Tower with its legendary pre-party on Thursday and up to 20,000 visitors, the brand ran smaller and different modules at 16 festivals.
Among the activations were the PENNY.Festivals Shuttle, which saw festivalgoers at Burning Beach and Happiness Festival able to leave the festival site free of charge, drive to the nearest PENNY branch, and stock up on food and essentials. At other events, such as Ab geht die Lutzi Festival and Rocken am Brocken, the smaller PENNY.Festivals Kiosk was set-up; while elsewhere the PENNY.Festivals Food For Good Foodtruck offered vegetarian and vegan food. A number of festivals had digital partnerships.
And it wasn’t just audiences that benefitted from the support. PENNY also supported November 2022 conference Festival Playground, which brought together 150 different festivals of different sizes and genres.
“With this new concept, PENNY is once again strengthening its position as a reliable partner and supporter of the German festival industry,” says Höme’s Laura Pfeiffer.
“The response from the audience was great. For example, the Kiosk was always almost completely sold out after the first day (even though we ordered more than twice as much from the first to the second time). PENNY saw recognition at a huge variety of events. Our Instagram channel reached 10,000 followers within seven months. Festival attendees, especially from smaller festivals, are always happy to find our services at these events because it’s unusual to find big brands like PENNY there.”
Pfeiffer says this new approach is part of a three-year plan with the brand. “The first year was all about testing. Next year is all about improvements and taking the learnings from the first year to another level. Last but not least, the issue of scalability and the long-term implementation should also not be ignored.”
Read the European Festival Report in full below.
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Lowlands festival site to be used as refugee shelter
The festival site where Dutch festivals Lowlands and Defqon. 1 are held each year will become a shelter for more than 1,000 registered refugees.
The first refugees are expected at Walibi Holland in Biddinghuizen, central Netherlands, in three weeks’ time and will be accommodated in temporary housing units until next spring.
The shelter will be used to relieve the burden on the asylum seekers’ centre in Ter Apel, Groningen, until April 2023 when the site will be available for festivals again.
The mayor of governing providence Dronten, Jean Paul Gebber, tells de Volkskrant that Walibi Holland is a good choice for a temporary shelter because of the festivals that are organised there. “If we can build a village here for 60,000 people three times a year, we can also set up a village for 1,500 asylum seekers if there is a need for it.”
The mayor of Dronten says that Walibi Holland is a good choice because of the festivals that are organised there
Walibi Holland hosts the 55,000-capacity Lowlands (aka A Campingflight to Lowlands Paradise) in August each year, with the 2023 edition set for 18–20 of that month.
The festival’s promoter, Live Nation-backed Mojo Concerts, recently opened the world’s largest solar carport in Walibi Holland’s on-site car park.
The site is shared by Defqon. 1 which is promoted by Q-dance, part of the Superstruct-backed ID&T group.
The electronic dance music festival is due to return to the site between 22–25 June, 2023.
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Netherlands latest EU country hit by summer event ban
There will be no festivals in the Netherlands this summer, as the Dutch government imposes a ban on all large-scale events until 1 September.
The move follows similar decisions taken in some of Europe’s biggest festival markets including Germany, Belgium and Denmark, where events are banned until 31 August, as well as slightly shorter bans in France (mid-July) Austria (end of June) and Luxembourg (31 July), and is in line with European Union guidance.
The government in the Netherlands had previously stated public events were not permitted until 1 June, affecting festivals including DGTL Amsterdam, Awakenings Easter and Dauwpop.
The extended ban has resulted in the calling off of major festivals organised by Live Nation’s Mojo Concerts, Friendly Fire – part of the CTS Eventim-owned FKP Scorpio group – and dance music giant ID&T.
“We all saw it coming, but the hammer has finally fallen: there will be no Lowlands this summer,” reads a statement on the Campingflight to Lowlands Paradise (Lowlands) website, set to take place from 21 to 23 August with performances from Stormzy, the Chemical Brothers, Foals and Liam Gallagher.
“Like you, we are heartbroken. All we can do now is look to the future and promise you that we’ll make Lowlands 2021 an all-out party beyond your wildest dreams.”
“Like you, we are heartbroken. All we can do now is look to the future and promise you that we’ll make Lowlands 2021 an all-out party beyond your wildest dreams”
Mojo-promoted Lowlands is part of the Netherlands’ ‘Save your ticket, enjoy later’ campaign, supported by the Dutch government and competition watchdog ACM, encouraging fans to hang on to tickets for a later date, rather than request refunds.
Lowlands will return from 20 to 22 August 2021.
Fellow Mojo festivals, Pinkpop (Guns N Roses, Post Malone, Red Hot Chili Peppers), Down the Rabbit Hole (Tyler the Creator, Disclosure, FKA Twigs), North Sea Jazz Festival (Alicia Keys, John Legend, Lionel Richie) and Woo Hah! (Kendrick Lamar, Asap Ferg, Aitch) have all moved to 2021 following the ban.
The cancellation of the 8th edition of Friendly Fire’s Best Kept Secret, which had a line-up including the Strokes, the National and Massive Attack, is a “massive blow”, say organisers.
“This news has an enormous impact on our festival and everyone involved. For us it makes an enormous difference if you decide to stay with us in 2021. By doing so, you’ll help secure the foundation of Best Kept Secret so that we can organise a fantastic edition for you next year.”
Best Kept Secret returns from 11 to 13 June 2021.
Netherlands-based dance music promoter ID&T has also had a number of events affected by the extended ban. The group states “we will do everything in our power to find an alternative date for all concerned events,” with the 2021 dates for festival including Defqon.1, Awakenings, Mysteryland and Amsterdam Open Air already announced.
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Futureproofing festival wristbands: Dutchband Q&A
The festival wristband industry has seen significant innovation in recent years, as suppliers have incorporated payment solutions and anti-counterfeit measures, as well as experimenting with ever more sustainable and durable materials.
For over 17 years, Dutchband, the largest supplier of event wristbands and consumption tokens in the Netherlands, has provided fraud-resistant, user-friendly and efficient wristband and payment solutions to over 1,000 events worldwide.
IQ checks in with Dutchband managing director Michiel Fransen to discover how the company is keeping gatecrashers out and making products more eco-friendly, as well as finding out what lengths the team will go to in order to ensure speedy wristband delivery.
IQ: Can you give me a brief description of who Dutchband are and what work you do?
Michiel Fransen: Dutchband has been active in the wristband and cashless payment business for close to two decades. Initially started as one of the first companies to use digital printing technology for wristband production, we have also introduced other innovations such as our unique payment tokens, vending machines, point-of-sale (POS) terminals and, of course, our high security SealStation solution (pictured), a semi automatic machine that seals wristbands on fans safely, quickly and comfortably.
We are proud to work with many of the bigger festivals in Europe. Festivals like Solidays and Fete de l’Humanité in France, the UK’s Download and WeAreFSTVL, German festival Rock am Ring, Poland’s Open’er, Lowlands in the Netherlands, Paleo in Switzerland and the Defqon1 and Mysteryland franchises all have used our solutions for either access-control wristbands or cashless payment.
We have seen an influx of new kinds of festival wristbands entering the market in recent years. What sets Dutchband apart from other companies working in the sector?
We differentiate ourselves mainly by always looking for ways to improve on the products that are currently offered in the market. We do this not only in terms of the physical properties of the products themselves, but also by exceeding customer expectations when it comes to service and reliability as a supplier.
There are quite a few cases where festivals have contacted us just before, or even during an event, to arrange delivery of additional wristbands or payment tokens. We understand the importance of helping out our customers in these cases and will do everything to arrange timely delivery, even if it means that one of our team has to jump on a plane to do so.
In terms of new developments, what are the most exciting innovations that Dutchband has implemented in recent years?
What I’m really excited about is our new range of wristbands, made entirely from organic and recycled materials. This perfectly matches our ambition to help our customers further reduce their environmental footprint. This means we can now offer sustainable alternatives for our entire product range, from SealStation wristbands made out of recycled soda bottles, to payment tokens produced from our own production waste.
Being more sustainable is the top of the priority list for many working in the live event industry, what do you believe are the other main challenges facing the wristband sector today and how is Dutchband tackling them?
The biggest challenge is to keep outsmarting the counterfeiters (and cheeky visitors) trying to get into the event for free. I believe that with our fully tamperproof, closureless SealStation wristband, we can really help festivals tackle this problem.
This foolproof design applies not only to our higher-end solutions but – and this is quite unique for this industry – even to our most basic Tyvek wristbands, made out of a plastic fibre that resembles paper, as a standard come with overt and covert anti-counterfeiting measures.
Looking to the future, what does Dutchband hope to achieve?
We keep on innovating to bring sustainable, reliable and easy-to-implement payment and accreditation products to the leading festivals of the world. Just like in the Netherlands, we want to be the people to call globally if you need a good solution and you need it now.
ID&T Group announces management reshuffle
Electronic music giant ID&T Group has adopted a one-tier board structure for 2020, as the company’s former COO Ritty van Straalen succeeds Wouter Tavecchio as CEO.
Tavecchio, who founded hardcore promoter Q-Dance in 2000, became CEO of ID&T Group following a merger of the two companies in 2006. He now serves as the chairman of ID&T Group’s board of directors.
Ushered in on 1 January, the changes also see ID&T co-founder Duncan Stutterheim return to the company as a non-executive board member. Stutterheim founded ID&T in 1992, selling the business to the late Robert Sillerman’s SFX Entertainment in 2013.
Stutterheim comments that it is “the right moment to return to the group in a completely different capacity and support the new generation.”
In addition to his role as Q-Dance creative director, Jonas Schmidt joins ID&T Group’s management team as chief creative officer, completing the team along with Bastiaan Heuft, Martijn van Daalen, Michael Guntenaar and Rosanne Janmaat.
“With the new management team, we start 2020 with the strongest setup possible”
“It was a great honour to operate as the head of this dynamic company for almost 15 years and in good faith I am passing on the baton,” says Tavecchio. “With the new management team, we start 2020 with the strongest setup possible and are poised for a bright future for all the brands and people that are part of the ID&T group.”
CEO van Straalen adds that the changes allow the team to “guarantee the creativity of ID&T for the long-term future”.
The management shake-up follows December’s appointment of former Tomorrowland Brazil booker Edo van Duijn to director of music.
The ID&T Group includes the companies b2s, ID&T Events, Q-dance, Monumental (Awakenings), Air Events, Art of Dance and VD Events. ID&T organises approximately 80 events a year, including festivals such as Mysteryland, Amsterdam Open Air, Vunzige Deuntjes, Thunderdome, Defqon.1 Weekend Festival, Awakenings, Decibel Outdoor and Masters of Hardcore.
ID&T appoints Edo van Duijn as music director
Electronic music promoter ID&T has named Edo van Duijn as its new music director, as the company prepares for a new series of global touring events in 2020.
Van Duijn, who has over 20 years of experience in the industry, will lead the music team for curating and booking events across the ID&T portfolio, including flagship brands Mysteryland, Sensation, Welcome to the Future and Amsterdam Open Air.
The new ID&T music director has a long history with the promoter, which was formerly part of SFX Entertainment (now LiveStyle), having founded sister company Plus Network in Brazil and programmed festivals such as Tomorrowland Brazil and Electric Zoo São Paulo.
He also leads ID&T’s Headliner Entertainment team, which focuses on artist management and special projects centred around artist brand activations.
Over the last decade van Duijn has toured South America with the likes of Armin van Buuren, Hardwell, Afrojack, Steve Angello, Axwell and Nicky Romero, and worked on brand collaborations with Samsung, Nike and Red Bull.
“Not only are our established brands performing exceptionally, but we’re now focused on creating new event experiences for our fans”
Van Duijn has also helped to launch the careers artists including DJ Marky, Bruno Martini and Alok and co-produced festivals such as Skolbeats and Nokia Trends.
“This is an exciting time to be part of the incredible music team at ID&T,” says van Duijn. “Not only are our established brands such as Mysteryland performing exceptionally, but we’re now focused on creating new event experiences for our fans and building stronger ties with the artist and agency community.”
ID&T’s COO, Ritty van Straalen, adds: “Edo is well known in this industry for his eye for talent and music, and has great relationships with the artists, agents and managers. For me it was a no-brainer to ask him back and guide ID&T to the next chapter in electronic music.”
Founded in 1992, ID&T organises around 80 events a year, attracting more than one million visitors annually. The ID&T Group includes the companies b2s, ID&T Events, Q-dance, Monumental (Awakenings), AIR and events such as Milkshake, Thunderdome, Defqon.1 Weekend Festival, Qlimax, Awakenings, Decibel Outdoors and Masters of Hardcore.
The ID&T Group also encompasses hard dance booking agencies Platinum Agency and Most Wanted DJ, as well as management agency Headliner Entertainment.
Randy Phillips steps down as LiveStyle CEO
Randy Phillips, the man who helped to salvage SFX Entertainment post LiveStyle rebrand, is stepping down as the company’s chief executive, as first reported by Billboard.
Phillips will stay on at LiveStyle as a consultant to investors, as the company prepares to sell off several of its assets.
The former LiveStyle boss will now focus on managing US boy band Why Don’t We, whom he states “are really starting to take off”.
Phillips took over the running of Robert Sillerman-founded SFX Entertainment in early 2017. The company had become insolvent two years after launching and Phillips was brought onboard to turn it around as the company emerged from bankruptcy. He led the dance music behemoth, rebranded as LiveStyle, for three years.
In just one year, Phillips turned losses of US$30 million into earnings of $20m.
Randy Phillips, the man who helped to salvage SFX Entertainment post LiveStyle rebrand, is stepping down as the company’s chief executive
“I was given my mission and I fulfilled my mission,” says Phillips. Under his leadership, LiveStyle sold assets including Paylogic to Vivendi and a minority stake in Rock in Rio to Live Nation and axed the US-leg of festival Mysteryland.
During Phillips’ tenure, LiveStyle made a number of high-profile hires, including Hard Events founder Gary Richards (president, North America), ex-Universal Music Group executive Chris Monaco (chief revenue officer) and NRG Productions founder Neil Ryan (senior vice president and head of North America production).
Prior to his work at LiveStyle, Phillips served as chief executive of AEG Live.
LiveStyle produces dance music festivals including Electric Zoo, Defqon.1 and Awakenings, operating through promoters and entertainment companies including Made Event and All My Friends in the United States, ID&T in the Netherlands and majority DEAG-owned I-Motion in Germany.
SFX founder Sillerman was recently charged with fraud in relation to his online publishing business, Function(x).
Drugs deaths could signal end for Oz Defqon.1 fest
State authorities in New South Wales are calling for dance festival Defqon.1 to be banned after two people died from suspected drugs overdoses and hundreds more had to seek medical help for drug-related problems.
Joseph Pham, 23, from Sydney was named as one of the victims, while an as yet unnamed 21-year-old woman from Melbourne also died. There have been other deaths at the Sydney festival in 2013 and 2015.
Police in the state report that 13 people required hospital treatment, with three people still in a critical condition, while on site, 700 revellers were seen by medics at the festival. The situation prompted NSW premier Gladys Berejiklian to brand the event as unsafe and call for it to be banned from ever taking place in Sydney again.
Organisers Q-Dance Australia say they are cooperating with the authorities. The company’s website outlines its zero tolerance drug policy and carries warnings such as, “We want to make you aware that the use of illicit substances carries a range of health risks including the possibility of death, and is strictly forbidden at this event.”
Despite this and informing the 30,000 visitors that there would be “a strong police, drug dog and security presence upon entry into the event to ensure everyone’s safety and wellbeing,” the warnings apparently went unheeded, prompting drug testing advocates to slam government officials for their ‘head in the sand’ approach to dealing with drugs use.
“We still have young people dying needlessly because we’re doing the same old thing over and over again and we have the mechanisms that we know keep people alive.”
“I’m absolutely aghast at what has occurred,” Berejiklian said in a statement. “I don’t want any family to go through the tragedy that some families are waking up to this morning. It’s just horrible to think about.” She added, “This is an unsafe event and I’ll be doing everything I can to make sure it never happens again.”
However, Berejiklian’s ‘just say no’ stance on drugs has been criticised as dangerous, while the government’s policies on drugs has been labelled as ineffective by doctors and campaigners.
Kieran Palmer of the Ted Noffs Foundation, told morning TV show Today the deaths made it clear the government’s approach of “just say no” is not working. “The difficulty now that we face is that we’ve been handling this with the same approach for such a long time,” said Palmer. “We live in one of the most privileged countries in the world and we still have young people dying needlessly because we’re doing the same old thing over and over again and we have the mechanisms that we know keep people alive.”
Advocating on-site drug testing programmes, he added, “We have the evidence. Shutting down festivals, getting tough on drugs, telling kids to ‘just say no’ doesn’t work. It doesn’t change behaviour.”